argelia danza del vientre
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7/27/2019 Argelia Danza Del Vientre
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General Issues1 4 I S I M N E W S L E T T E R 5 / 0 0
D a n c e
A I S H A A L I
During the 19th century, Algeria became familiar to
the Western world through the paintings of theFrench Orientalists and, towards the end of the cen-
tury, through photographs of the elaborately
adorned dancers of the Ouled Nal. A confederation
of tribes, the Ouled Nal originate from the highdesert region and can be found living in towns such
as Bou Saada, Biskra and Chellala.
In the Middle East and North Africa it is gen-
erally assumed that a woman who dances
professionally is of questionable reputa-
tion. The dancers of the Ou led Nal, howev-
er, were born into a tribe where the arts of
the entertainer were not only condoned,
but also valued and their young girls ap-
proached this profession free of inhibitions.
Their earn ings in the fo rm of gold and si lver
coins were made into necklaces and other
jewellery that both ornamen ted their cos-
tumes and provided tangible evidence of
wealth. Once a sufficient dowry had been
amassed, they found no difficulty in finding
a suitable marriage partner among their
own people and raising a f amily.
The fame of the Ou led Nal reache d a high
point during the time of the French occ upa-
tion, when they attracted a large patronage
from among the military personnel. After
Algerias independence, however, their
good fortune was not to last as demands
for their talents were once again limited to
performances at weddings and festivals for
a mainly local clientele.
Today ther e are fewer y oung wome n enter-
ing into the profession, and although their
costumes are still traditional, they have
changed to a certain extent. The silk bro-
cades, golden diadems and festoons of
coins are rarely seen. Now layers of di-
aphanous dresses are worn, sometimes
covered with a p al l a, and their turbans and
headscarves are usually made of synthetic
materials. Some dancers completely cover
the face with a transparent veil, while oth-
ers wear no veil at all. Dancers who also
sing command a higher fee and their ca-
reers may continue to an advanced age.
The be st known troupe of Ouled Nal dan-
cers and musicians is located at Bou Saada,
where occasional tourists may still visit.
Many performances begin with a proces-
sion led by the musicians. The exciting call
of the g h a i t a (a folk oboe) and the womens
high-pitched zaghareet (ululation) an-
nounce to all that there will be a perfor-
mance, and the audience gathers. When
they arrive at the stage area, the dancers
and musicians sit together on a platform
while the soloists and groups take their
turns. The men of the tribe also perform,
their repertoire including a rifle dance.
When dancing, the men of the Ouled Nal
cover the lower part of their faces with a
portion of their head wraps in the manner
of the Tuaregs.
Some of the preceding material appears in Aisha Alis
contribution to the International Encyclopedia of
D ance (Oxford University Press), published in 1997
as well as the booklet accompanying the ARAF
(Associated Research Arabic Folklore) CD, Music of the
Ouled Nal.
Aisha Ali is a dancer, choreographer, dance
researcher, and producer of dance documentaries.
E-mail: [email protected]
M I S C E L L A N E O U S
Dances of
t h e Ouled Na lIn Chellala, tribes gather to set up their
tents at the times of festivals and holidays.
During the rug festival, the Ouled Nal per-
form informally for the buyers and sellers of
carpets. Each tent shelters a different group
of singers, dancers and musicians. Some-
times a man sits at the entrance to encour-
age passers-by to enter. Here the dancers
are mostly women presenting the danse du
v e n t r e . As in the past, dance performances
continue to be an occasion for displaying
the attractions of the dancers to potential
p at r o n s . o
Female from the
Ouled Na l tribe,
Frauen Des
M o rg en l a n de s ,
Z r ic h.